Announcement
Collapse
No announcement yet.

Line 6 Helix Multieffects

Collapse



X
  • Time
  • Show
Clear All
new posts

  • Line 6 Helix Multieffects

    (Note: Pro Reviews are Harmony Central's unique, interactive, open-ended, and "open-source" reviews. Subscribe to the thread, or check back often, as the review is ongoing - it's part blog, part forum, and part Q&A. Feel free to ask questions; if I can't answer them, someone from Line 6 will. For more information on Pro Reviews, please refer to the FAQ and forum rules.)


    I've been tracking the progress of the Helix for quite some time, including a chance to see Marcus Ryle (Line 6's head honcho) demonstrate it at Sweetwater's GearFest 2015, which I documented in my GearFest show report. Considering that Line 6's POD Farm is what got the whole amp sim thing off the ground, the fact that the company - now under Yamaha's ownership - was working on a high-end, no-holds-barred multieffects that was intended to go above and beyond the POD...well, how could I not be interested? Not only did I want to check it out for my own admittedly selfish reasons (the Line 6 Dream Rig was one of the last Pro Reviews I did before joining Gibson, and I like Line 6's effects) but I also wanted to create presets designed specifically for Gibson's new 2016 guitar models. So here I am with a Helix, and here we are with a Pro Review.

    Hardware Pro Reviews typically start off with a photo gallery, and this one is no exception. Here's what's in the package.



    Clockwise starting from the upper right, there's a surprisingly useful Cheat Sheet for the various functions leaning up against the box. Then there's the Helix itself, and a USB flash drive (don't throw it out by accident with the foam packaging). We'll get into what's on the flash drive, as well as the reason for the hex wrench, later on. Then there's a USB cable with a ferrite bead, and a line cord that's quite a bit longer than the average line cord packed with a device. (So just in case accounting was arguing with product management - "We can save a few bucks if we use a shorter cable, no one will notice" and product management insisted someone would indeed notice...I noticed ).

    As is the usual practice these days, there's no manual - you need to grab it online. I keep all my downloads in iBooks on my iPad, so Helix will join the other Line 6 manuals (for details on how to create a manual library with an iPad, check out the article Create Your Own Manual Library).

    Now let's plug 'er in, and take a look at the unit itself.



    The first thing you'll notice is this thing is built like a tank...it's heavy metal, in the literal sense of the words. The next thing you'll notice is the plethora of displays - the sort of "scribble strip" displays that show what the footswitches do (and by the way, the footswitches have little colored rings that further identify what they do), the display above the footpedal, and the mondo big/bright display that shows signal flow and is suitable for tweaking presets. Or as Donald Trump would call it, the HUGE!! and AMAZING!! display.

    The main display deserves its own close-up...



    Note the labels along the bottom. These correspond to knobs immediately below the display, so you always know what the knobs are doing. Also, one of the really great features is a dedicated Home button. If you ever got lost in the tweaking process, just hit the home button. It's sort of like clicking your heels twice, and returning to Kansas.

    Next, a closeup of the displays associated with each footswitch. Here they're showing individual presets, but you can change modes and show the effects within the presets too...as well as other things, like parameters.



    The footpedal is heavy-duty metal...plastic need not apply. It's downright macho (or machette - equal time for all the woman guitarists out there!). If the footpedal could be removed, it would make an excellent personal defense device. OTOH the Helix itself is sufficiently heavy-duty that hurling it at an assailant would probably knock them out, as long as you had good aim. I suspect that the Helix itself would not suffer any damage.



    Moving right along, let's look at the I/O on the rear panel. Line 6 has always been good about providing lots of I/O - the HD500 basically set the standard, and the Helix follows along in the same "you can hook this into anything" path. Here's the rear left of the unit.



    I haven't dug into the manual far enough to know exactly what all of these jacks do, but it seems there's the option for two other effects pedals, as well as Control Voltage input. Does this mean nirvana for Eurorack synth junkies who want to interface with Helix? We'll find out. Next there's the expected Guitar in and Aux in, as well as the expected-for-Line-6-but-not-expected-for-everyone-else Mic input. There are four sets of send/returns, which I presume are effects loops. Now let's look at the rear middle section.



    We're basically in Output Land, with XLR stereo out, 1/4" stereo out, headphones, and of course, a Variax connector. Although I spend most of my time with various Gibson USA guitars, when I do reach for another guitar and it's not my J-45, it's almost always a James Tyler Variax...so I look forward to the same kind of connectivity the Dream Rig offered.

    Finally, here's what's on the right of the rear panel.



    This is all about digital I/O - MIDI 5-pin DIN connectors (extra credit for remembering not all MIDI gear is USB-friendly...especially the gear invented before USB ), S/PDIF digital out, and the L6 LINK out option for interfacing with other Line 6 gear. Then there's the USB connector, and an IEC-compatible receptacle for the longer-than-average line cord.

    That's a quick look but we have a loooooong way to go with this Pro Review. Like most Pro Reviews, I try to do a little each day, although I don't always have the chance to post every day - this is mostly something I do after hours, and on weekends. But let me emphasize that Pro Reviews are all about interactivity - I'm very interested in hearing from other Helix owners about their opinions, as well as questions from those contemplating adding a Helix to their collection. Also, I've invited Line 6 to participate so they can deal with any questions requiring a degree in calculus to answer, which I'm sure some tech-savvy guitarists will ask.

    Next up, some audio evaluations. I may need to skip a day because this will require studio time to create the examples, but stay tuned and check back often.
    Attached Files
    Last edited by Anderton; 12-30-2015, 06:37 PM.
    Simplicity, my new album project, is now streamable from my YouTube channel.

    Subscribe, like, and share the links!

  • #2
    Sweet! Thanks, Craig!

    It's kind of hard to tell, but the long scribble strip lenses have a removable plastic film on them as well—you kinda have to peel them off with your fingernail. Everything's a bit easier to read then.
    Product Manager—Line 6

    Comment


    • #3
      Originally posted by Digital Igloo View Post
      Sweet! Thanks, Craig!

      It's kind of hard to tell, but the long scribble strip lenses have a removable plastic film on them as well—you kinda have to peel them off with your fingernail. Everything's a bit easier to read then.
      Welcome! Actually I did remove the plastic before taking the shots, but those displays are bright - my iPhone freaked out a bit. "Blinded by the light," and all that.

      Also, a correction: Turns out the CV jack is a CV output, not an input. So of course, I started thinking...hmmm, I have a Minimoog with CV and audio inputs...and a Helix with a CV output...hmmm...

      Anyway, to those following this Pro Review, I promise not to geek out immediately. As a matter of fact, I'm going to issue the RTFM Challenge! and see how far I can get without reading the manual. Not only is that the acid test of an interface, but anyone who's seen me play live knows I like to work without a net, so let's see how far I get.
      Simplicity, my new album project, is now streamable from my YouTube channel.

      Subscribe, like, and share the links!

      Comment


      • #4
        Before posting the audio examples, I want to tell you two POD stories because they'll give some background to the review.

        POD story #1: When the original POD came out, I could hardly wait to try it. I liked some models more than others, but overall, I liked it a lot. I even came up with a programmer for it using the late, great Panasonic DA7 mixer's MIDI layer so I could tweak presets easily. Of course, guitarists can be traditionalists and a lot of them took the attitude of "Oh, it's digital, it's crap, you'd never see me playing through that piece of garbage" etc. One friend in particular was shocked that I was using the POD for live performance, but he conceded it was a lot easier to plug it into a PA than lug an amp around.

        Several months later, he heard some of my recent recordings and said "Well, I'm glad that at least you're not using that digital crap in the studio." Only problem was...I was using the POD in the studio. But he didn't know the difference, because I'd gotten good at tweaking it, and was able to match the POD to my pickups, guitar, and playing style.

        POD story #2: When the POD XT came out, I could hardly wait. Although I liked the POD there was definitely room for improvement on some of the models and effects. I received one for review, plugged it in, dialed through the presets, and...it sounded horrible. It sucked. I was dumbfounded: How could Line 6 have lost the recipe? Why did the new, improved POD sound so much worse than the old POD?

        I thought that surely it couldn't be a total loss, so I started playing with the presets and...it started sounding good. Then it hit me: The difference wasn't so much about the POD as that it didn't have presets I'd tweaked over a period of months to complement my guitar and playing style. After a while, I was definitely getting better sounds with the XT than with the original POD. In fact most of the time, all I really needed to do was back off on the Drive for any given distortion, and the sound cleaned up beautifully.

        So what's the point of all this?

        The odds are that whoever created the presets in any effect, not just the POD or Helix or whatever, didn't use the same guitar, pickups, string gauge, pick, playing style, play the same genre of music, or use the same fingerings. So, probably the worst way to judge an effects is by the presets, also because they're generally designed to show off what the unit can do - not fit like a glove into a track you're recording. There were many times when working with the HD500 that I just took off the effects, stripped it down to the amp, pulled back on the drive, and maybe returned a delay or reverb back into the signal chain - and it sounded perfect for what I needed.

        So in this review, assuming that the sound quality is there, I'm going to place great importance on the ease of use and the user interface. A lot of players don't tweak their effects because the interfaces are opaque and user-hostile, so they never realize the full potential of what an effect can do...Helix is NOT a Tube Screamer with three knobs and a footswitch. As a result, instead of segmenting the review into sounds and the interface, I'm going to do the two together...if I hit a sound that doesn't wow me, I'll see how easy it is to make it wow me. And just to be tough on Line 6, I'm going to avoid reading the manual for as long as possible to see how far I get. After all, I need to emulate real-life conditions!

        (An aside: Whenever someone comes up to me and says they read a manual I'd written, my response is always "So you're the one! I always knew you were out there somewhere!" That's intended to be a joke, but sometimes I'm not so sure it is...)

        Last edited by Anderton; 11-24-2015, 05:56 PM.
        Simplicity, my new album project, is now streamable from my YouTube channel.

        Subscribe, like, and share the links!

        Comment


        • #5
          All right, time for some audio!

          The first thing I like to do with anything that has distortion is see how it manages the clean-to-distortion breakup, which has always been the hardest thing for digital amp sims to get right. IK does a good job; I think my CA-X amps (ahem) do too because I tried really hard to make that happen. Well, it sure sounds like Line 6 tried really hard too, because the breakup characteristics are excellent for the first preset I tried. You'll hear it for yourself in the audio example: the sound goes from muted/clean to more distortion to heavy, chorded distortion cleanly and smoothly.

          Also, pay close attention to the decay. With many sims, the distortion sounds like it "rides on top of" the guitar signal, and the distortion fades out before the signal. Not so in this case: the decay is very smooth, with the distortion following suit. Frankly, given how picky am I about this kind of thing (how picky do you have to be to design your own stuff to get what you want?!?), we're off to a great start. If the other models react similarly, I'm going to be a very happy camper as far as distortion sounds are concerned.

          Two other points: First, this is the first amp sim I've tried where my first impulse wasn't to reach for a notch filter to get rid of "fizzy frequencies" - those sort of whistling, sharp resonances you'll hear in most amp sims somewhere in the 3 kHz to 10 kHz range. Second, this doesn't have the typical ugly low end intermodulation distortion that's common with a lot of distortion algorithms. I still don't necessarily like what's happening below 100 Hz, but in the audio example, I applied SONAR's QuadCurve EQ to provide a 48 dB/octave highpass filter starting at 53 Hz. This is standard operating procedure for me with amp sims...I see little need to reproduce frequencies below a guitar's lowest note, particularly because otherwise, it gets in the way of bass, kick, and low toms. To be fair, this is subtle in most amp sims, and even more subtle in the Helix...but as I said, I'm picky.

          For the technically curious, I recorded using a 2014 Les Paul Standard set to the neck pickup. FWIW the distortion didn't overwhelm the other pickup positions, they retained their identity. I would have recorded a second audio example if they had sounded the same just to point out that this was an issue, but it wasn't an issue.



          Now, after all those well-deserved compliments, it's time for my first complaint - and this is no means limited to Line 6: preset names. I chose the first Helix preset for the audio example (begin at the beginning, right?) which was called "LickedByAWhale1." Now, it's very possible that being licked by a whale produces a sound similar to an overdriven amp, but I doubt it. Why not "OD Rock Rhythm" or something that at least gives a clue as to what the sound is? Granted, if it was up to me preset names would be booooring, but sometimes boring is helpful.
          Last edited by Anderton; 11-24-2015, 10:21 PM.
          Simplicity, my new album project, is now streamable from my YouTube channel.

          Subscribe, like, and share the links!

          Comment


          • #6
            Originally posted by Anderton View Post
            POD story #1: When the original POD came out, I could hardly wait to try it. I liked some models more than others, but overall, I liked it a lot. I even came up with a programmer for it using the late, great Panasonic DA7 mixer's MIDI layer so I could tweak presets easily.
            Nice! The first time we met was at a Panasonic DA7 clinic in Tucson where I was working retail. The crowd was a bit geekier than most, so in lieu of the usual pitch, you showed us all sorts of left-field coolness, like how to turn the DA7's jog wheel into a wah pedal. Fun was had.

            Product Manager—Line 6

            Comment


            • #7
              Fun will be had in this review, too Quick question: The algorithms sound in some cases like re-writes, not modifications of what you had before. Is that correct?
              Simplicity, my new album project, is now streamable from my YouTube channel.

              Subscribe, like, and share the links!

              Comment


              • #8
                Let’s talk about presets, footswitches, and programming. The most unusual aspect of Helix is that it’s a floor unit, but put it on a tabletop, and you can program it without getting near a computer. Part of this is because the footswitches are touch-sensitive, and we’ll find out the ramifications of that feature soon enough. Some might even argue that given Helix’s physical size, it’s actually easier to program than with a mouse and computer screen.


                SELECTING PRESETS


                There are 128 programs resident in Helix at any one time; all 128 presets can be overwritten, because there’s no dichotomy of unalterable factory presets and editable user presets (thank you). The presets are arranged as 16 Banks with 8 footswitch-selectable presets per Bank. Presets within a Bank are numbered as groups of four, for example the first bank is 1A to 01D for the four lower footswitches, and 2A to 2D for the four upper footswitches. Two footswitches on the left choose Bank Up and Bank Down. As far as I can tell, there’s no way to select Banks randomly.


                The two footswitches on the right are more utilitarian. Tap the lower right footswitch to do tap tempo, or hold to open a tuner. And here’s where we meet our first touch-sensitive switch application: touch this switch to see a tempo control panel, where you can choose whether Helix syncs to tempo globally or per-preset, and the base tempo.


                The upper right Mode footswitch switches modes. The default mode is Preset Mode (although I think of it more like Bank select mode), but push it again to enter Stomp Footswitch Mode where the footswitches toggle the effects within a preset on or off. This may seem business as usual, but there are some significant differences.
                • The footswitches light up with different colors. Effects within Helix are color-coded by function—e.g., reverbs are red, delays green, modulation blue, and so on. When you’re in the heat of the moment and want to do something like bypass the reverb, parsing colors is faster than parsing text. Those who are color-blind won’t be able to take advantage of this particular feature, however the text legends are clear (e.g., "Gray Flanger," not "Cosmic Swirl" or something equally confusing).
                • If you’ve selected a preset and edited it, pressing the associated footswitch again reloads the originally stored preset.
                • If you hit a Bank footswitch, Helix automatically exits Stompbox Footswitch Mode and returns to Preset Mode. You don’t need to hit the Mode button again, or hit something else to exit.
                Simplicity, my new album project, is now streamable from my YouTube channel.

                Subscribe, like, and share the links!

                Comment


                • #9
                  EDITING PRESETS


                  This adds a dimension I haven’t seen in other multieffects: press and hold the Mode footswitch to edit presets. Did I find this out by reading the manual? No, the scribble strip below the Mode footswitch says “hold to edit.”


                  Anyway, you can edit conventionally, which we’ll get into shortly, by using navigation buttons and knobs below various parameters. Here’s an image that shows the parametric EQ being edited; you can see the parameter names clearly, and the knobs with which you vary the values.



                  However since we’re talking about footswitches, let’s get into how you can edit with your feet.


                  After pressing and hold the Mode footswitch, the footswitches now correspond to the effects used in the preset and flash. Again, colors help you zero in on a particular type of effect. The following image doesn’t do the display justice at all (sorry), the display is just too bright and the camera thinks it’s pointing into the sun or something If you see a Helix in person, you’ll see what I mean...the displays are super-readable...except to an iPhone camera.




                  As for how you would use a foot-controlled editing option, suppose you want to edit the Noise Gate threshold because there’s more ambient noise at a club than you expected. Step on the footswitch that corresponds to the Noise Gate, and now the upper row of footswitches displays the editable parameters and their values. If there are more than six parameters, the lower row of footswitches includes page left/right buttons to select a different page of parameters. You then can change values with the Value +/- footswitches. Again, the nasty image below is the best I could do, but it gets the point across.



                  That’s four of the lower footswitches. Of the other two, the lower left footswitch returns you to Edit mode so you can choose a different effect, the lower right footswitch exits from Edit mode but if you want to save the changes you made, you can press and hold the Exit footswitch to save.


                  I don’t know of any multieffects that lets you get into this granular a level of editing with your feet, and it’s very thoughful and easy to use. One suggestion for a future update is to be able to hold a Value footswitch and after a short delay, continuing to hold would scroll up and down through values. As it is now, you have to tap each time you want to change a value...so if you want to edit the Noise Gate threshold from -55 to -38 dB, that’s a lot of tapping. Also these are not acoustically noiseless footswitches, so you’ll hear a mechanical click with each tap (although to be clear there's no click in the Helix output). I don’t consider this a big deal but as long as the scrolling wasn’t too fast, I think being able to scroll through values would be a useful addition.


                  Now bear in mind that so far, I’ve been true to my word and haven’t looked at the manual. Between the interface giving you useful tips (like “Hold to Save and Exit”), the color-coding, extremely readable displays, and logical workflow, so far this is a remarkably easy multieffects to program.


                  Next up: how to edit in a more conventional way.
                  Attached Files
                  Simplicity, my new album project, is now streamable from my YouTube channel.

                  Subscribe, like, and share the links!

                  Comment


                  • #10
                    We’ve covered how you can edit with your feet, but of course, editing with your hands is quite a bit faster. And I might as well give you the short form: The user interface on the Helix continues to prove itself to be obvious, transparent, and—although I hate to use this word because it’s so overused—it really is intuitive.

                    Long-time readers of Pro Reviews might remember my review of DigiTech’s iPB-10, which was a multieffects that used an iPad as its user interface. The concept was brilliant, and prior to Helix, was the best interface I’d encountered in a multieffects. But, there were two fatal flaws. Dependency on Apple can be tricky, as DigiTech found out when shortly after the unit appeared, the iPad connector and form factor changed. The company had to scramble to produce a new tray and mod to accommodate newer iPads. Furthermore, DigiTech never really made it clear that you didn’t need the iPad when playing live—you could just program all your sounds, then leave the iPad at home so you didn’t have to worry about stepping on it or someone pouring beer all over it.

                    I’m bringing this up because the Helix offers the same level of user interface facility a dedicated iPad could offer, but without the drawbacks. I can’t emphasize enough how intelligently the Helix uses the displays, including prompts that guide you through the process.

                    It was a tough call whether to do a video showing the interface or describing it in words and pictures. Ultimately I decided on words and pictures, because the interface is so simple and obvious it would take less time to describe what’s happening than to watch a video. Here’s how you create or modify patches (and again, apologies for the photo quality but it's good enough to get the point across).

                    The “programming” section has three main elements, with a total of eight switches and eight knobs (the one on the right is a combo knob/joystick). All knobs also include a push switch, so many times, your action will be to turn a knob to choose something, then push on it to select what you just chose. The limited number of controls also encourages “poking around”—hit stuff until what you want happens.

                    Referring to the picture below, on the left (outlined in red) are the more global functions: call up presets, save, access various global functions, the “home” button that always returns you to the main preset screen (like a “back” button that takes you all the way instead of having to step through “back” several times), and an “amp” button that takes you instantly to whatever amp/amp+cabinet/or preamp is in the signal chain. If you have more than one of these modules present, pressing repeatedly on the button cycles among them. This is basically a shortcut button on the assumption that of all the modules in a patch, you’ll probably end up doing the most tweaking on the amps. I agree.

                    Toward the bottom, six knobs (outlined in yellow) change values, which can also include switching between options. Toward the right (outlined in blue) are three navigation buttons, a bypass button, and joystick.

                    I wanted to create a preset from scratch. Now, remember I still haven’t cracked the manual. So I called up a preset. Of all the buttons, my guess was that I wanted an “Action,” like initialize preset. Upon pressing Action, here’s what showed up.



                    Bingo! Right above the fourth knob was a graphic that said “Clear All Blocks.” I pushed the knob, all blocks were cleared, and the preset was initialized. Then being ever-helpful, this display appeared and told me to “Press joystick to open model list.” Okay...sort of like a Siri that doesn't talk.



                    So I pressed the joystick to open the model list, and was was greeted with what’s shown on the left of the following image: a listing of all the effects categories. Note that as mentioned earlier, these are color-coded. I figured I might as well start with a compressor, so I rotated the joystick knob to Dynamics, and pressed the knob down. This opened up the Mono/Stereo choice in the middle. Another push to open up the Mono options, and the column on the right appeared with the different models. I landed on LA Studio Comp and its editable parameters appeared above the six knobs. For models with more parameters, you have Page Left and Page Right buttons.



                    I pushed the knob again, and returned to the preset with the compressor in the signal chain.

                    And really, that's all there is to it. Sure, there are some additional options, like having two parallel paths. So push the joystick down or up to select a path. You can even move the joystick all the way to the right and select an appropriate output.

                    Everything else is totally obvious. To add another effect, move the joystick to where you want the effect, the push the joystick button and spin the dial until you get the effect you want. When you want to move a block to someplace else in the chain, when you hit Action you're told to move it with the joystick...and so on.

                    I've joked in the past about my system for rating user interfaces. It consists of two digits: the first is the number of drinks consumed, the second is the hour in the morning. The highest rating is 5 x 5 - after five drinks at five in the morning, you can still find your way around the interface. This is a brilliant user interface that takes the pain out of programming or editing, and more than deserves a 5 x 5 rating.
                    Attached Files
                    Simplicity, my new album project, is now streamable from my YouTube channel.

                    Subscribe, like, and share the links!

                    Comment


                    • #11
                      Originally posted by Anderton View Post
                      Fun will be had in this review, too Quick question: The algorithms sound in some cases like re-writes, not modifications of what you had before. Is that correct?
                      Correct, with a few exceptions. The reverbs, eight of the ten wahs, and Line 6 Epic, Doom, and Elektrik amps started out as M-Class/HD effects, but have been rebuilt in the Helix engine, so they sound better. All others have been created from scratch within the new engine.
                      Last edited by Digital Igloo; 12-03-2015, 12:16 PM.
                      Product Manager—Line 6

                      Comment


                      • #12
                        Originally posted by Anderton View Post
                        There are 128 programs resident in Helix at any one time; all 128 presets can be overwritten, because there’s no dichotomy of unalterable factory presets and editable user presets (thank you).
                        Helix actually has 1,024 presets. Pressing the PRESETS encoder opens the preset menu, and allows for selecting one of 8 available setlists, each containing 128 presets.

                        I don’t know of any multieffects that lets you get into this granular a level of editing with your feet, and it’s very thoughful and easy to use. One suggestion for a future update is to be able to hold a Value footswitch and after a short delay, continuing to hold would scroll up and down through values. As it is now, you have to tap each time you want to change a value...so if you want to edit the Noise Gate threshold from -55 to -38 dB, that’s a lot of tapping.
                        While in Pedal Edit mode, moving the expression pedal is meant to get you in the ballpark, and [VALUE-] and [VALUE+] are designed for fine-tuning. Agreed, it'd be cool to hold either switch, especially for Helix Rack/Control guys who don't have an expression pedal connected!
                        Last edited by Digital Igloo; 12-03-2015, 12:38 PM.
                        Product Manager—Line 6

                        Comment


                        • #13
                          Hey Mr. Igloo - thanks much for chiming in! The drawback of seeing how far I can get without the manual is that I miss things that are in the manual However, at this point I'm convinced that you really CAN get far without cracking the manual, so I think it's time to pull out your USB stick and do a little studying.

                          That's great about the 1,024 presets - not because I'd use that many on a gig, but because it means I'll probably never need a computer application that shuttles bundles of presets in and out of a limited amount of memory to suit different occasions. Also interesting about the expression pedal. Never occurred to me that an expression pedal could be used for things other than expression.

                          Right now I'm recording some audio examples to put in the next post. After that I want to look at the I/O, and then get into individual effects. So far the Helix has been an absolute delight to play through and program. I'm hoping that the ease of use will encourage those who were programming-phobic to create signature sounds and exercise their creativity fully.
                          Simplicity, my new album project, is now streamable from my YouTube channel.

                          Subscribe, like, and share the links!

                          Comment


                          • #14
                            Originally posted by Anderton View Post
                            I'm hoping that the ease of use will encourage those who were programming-phobic to create signature sounds and exercise their creativity fully.
                            This was a top level goal from the beginning. As many have noticed, guitar has taken a back seat in popular music of late, and we believe much of that has to do with the same old tones being shoehorned into modern production. Helix will hopefully push people to make cool and unique guitar sounds that no one's heard before.

                            Product Manager—Line 6

                            Comment


                            • #15
                              One of the most important reasons for good editing is that patches you create at home never work quite the same live. Its really important to be able to easily tweak and save the patches in a live setting, just like you would with any amp. Helix supports this without having to have a computer or iPad, both of which can be expensive and somewhat impractical for live use.

                              Comment













                              Working...
                              X